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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 


GIFT  OF 

C.  G.  Roberts 


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CATALOGUE   OF 

The  Cooke  Gallery 


HONOLULU.  HAWAII 
MCMXVI 


Digitized  by  the  Internet  Archive 

in  2008  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/catalogueofpaintOOcoulrich 


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THE  COOKE  GALLERY 


CATALOGUE 

OF 

PAINTINGS  AND  SCULPTURE 

AND 

BIOGRAPHICAL  NOTES 

BY 
MARY   J.  COULTER 


PUNAHOU.  HONOLULU.  HAWAII 
MCMXVI 


GIFT 


NP.35 

BERGE,  EDWARD.  ^^/k? 

American:  born  Baltimore,  1876;  sculptor;  pupil  of  Mary-       ^ 
land  Institute  and  Rhinehart  School  of  Sculpture  in  Baltimore ; 
Julian  Academy,  Verlet  and  Rodin  in  Paris. 

Awards:  Clark  Prize,  Paris,  A.  A.  A.;  bronze  medal  Pan- 
American  Exposition,  Buffalo,  1901;  bronze  medal  St.  Louis 
Exposition,  1904;  bronze  medal  Panama-Pacific  International 
Exposition,  San  Francisco,  1915. 

Member  of:  National  Sculpture  Society;  Arts  and  Crafts 
Society;  Municipal  Art  Society. 

Among  his  well-known  works  are:  "Watson  Monument," 
Baltimore;  "Pieta,"  St.  Patrick's  Church,  Washington;  "Tat- 
tersall  Monument,"  Baltimore. 

1.  ''The  Scalp"  (bronze).  One  of  Berge's  finest  Salon 
pieces  (1901) ;  this  with  his  exquisite  "Muse  Finding  the  Head 
of  Orpheus"  brought  him  immediate  recognition.  It  is  a 
powerful  bit  of  realism,  magnificently  handled,  and  is  one 
of  the   sculptor's   greatest   achievements. 


702 


CACHOUD,  FRANCOIS  CHARLES. 

Contemporary  French :  born  Chambrey,  (Savoy) ;  pupil  of 
Dulaunay  and  Gustave  Moreau. 

Awards :  honorable  mention,  Salon  of  French  Artists,  1893 ; 
third  class  medal,  Salon  of  1896 ;  gold  medal,  Paris  Exposition, 
-1900;  second  class  medal  (hors  concours),  1902. 

Among  his  works  sold,  two  have  been  acquired  by  the 
City  of  Paris,  and  one  is  at  present  hanging  in  the  Petit 
Palais  des  Champs-filysees ;  one  was  purchased  for  the  Mem- 
orial Museum  of  Philadelphia,  and  one  was  bought  by  Her 
Majesty  the  Queen  of  England. 

2,  "The  Man  With  the  Lantern."  A  fine  example  of  the 
moonlight  and  night  effects  so  well  portrayed  by  Cachoud. 


CARRACCI,  FRANCESCO. 

Italian:  born  Bologna,  1595;  died  Rome,  1622;  son  of 
Giovanni  Antonio,  and  nephew  of  Agostino  and  Annibale 
Carracci;  pupil  of  Lodovico  Carracci,  and  a  follower  of  the 
Bolognese  school.  Later  he  founded  a  rival  academy  in 
Bologna,  placing  over  his  door  the  sign,  "The  True  School 
of  the  Carracci."  But  not  meeting  with  the  patronage  he 
expected,  he  left  Bologna  and  went  to  Rome,  where  he  died 
in  poverty.  His  best  known  pictures  are :  ' '  The  Virgin 
Adored  by  Saints"  in  the  Santa  Maria  Maggiore,  Bologna, 
and  '*St.  Roch  Comforted  by  an  Angel,"  in  the  Oratory  of 
San  Rocco. 

Besides  his  paintings,  Carracci  also  produced  a  few  plates 
signed  F.  C.  or  F.  C.  S.,  engraved  from  the  designs  of  Lodovico 
and  Annibale. 

3.  "The  Marriage  of  St.  Catherine"  (in  old  Florentine 
frame),  from  the  Brett  collection,  sold  by  order  of  the  Court 
of  Chancery,  England,  1881,  and  an  interesting  example  of 
the  work  of  Carracci. 


COQUES,  GONZALES. 

Flemish :  born  Antwerp,  1618 ;  died  Antwerp,  1684 ;  portrait 
painter;  pupil  of  Peter  Brueghel,  as  whose  pupil  he  entered 
the  Guild  of  St.  Luke,  in  1627.  Later  he  studied  under  Eyck- 
aert,  the  elder,  whose  daughter  he  married  in  1643.  In  1665 
he  was  president  of  the  guild  and  again  in  1680-81.  His 
portraits,  mostly  small,  are  in  the  manner  of  Van  Dyek,  and 
he  has  often  been  called  "The  Little  Van  Dyck."  His  touch 
is  broad  and  spirited;  his  color  clear  and  harmonious  in  his 
warm  brownish  flesh  tones;  the  backgrounds  in  his  pictures 
are  often  the  work  of  other  painters  of  his  school,  the  master 
confining  himself  to  the  more  important  work  of  the  figures. 
His  single  heads  and  his  groups  of  family  portraits  were  ranked 
superior  to  those  of  every  artist  of  his  time,  Van  Dyck  alone 
excepted.  Although  his  heads  are  extremely  small,  they  are 
drawn  with  the  utmost  correctness  and  have  all  the  breadth, 
freedom  of  touch  and  animated  character  of  the  portraits  of 
Van  Dyck.  The  paintings  of  Coques  are  very  rare  and  valu- 
able. Among  his  works  are:  ''Portrait  of  a  Lady,"  Antwerp 
Museum;  "Literior  of  a  Picture  Gallery,"  Hague  Museum; 
"Family  Portrait"  (group  in  a  garden),  National  Gallery, 
London;  "The  Artist  and  His  Family,"  Louvre. 

4.  "The  Burgomaster's  Family."  Bought  from  an  old 
English  Rectory  in  1879,  and  a  splendid  and  characteristic 
example  of  this  artist's  work. 


11 


COURBET,  GUSTAVE. 

French:  born  Ornans,  1819;  died  La  Tour-de-Peiltz  near 
Vevey,  Switzerland,  1878;  painter  of  genre,  landscape  and 
portraiture;  in  1839  studied  law  in  Paris  but  later  gave  it  up 
for  painting  and  attended  many  studios,  but  worked  chiefly 
in  those  of  David  d 'Angers,  Steuben  and  Hesse.  The  lack 
of  success  his  early  picture  met  with  only  proved  a  stimulus 
and  led  him  to  a  more  constant  and  closer  study  of  nature. 
In  1844  he  exhibited  his  work,  but  it  was  not  until  1849  that 
he  received  much  attention.  An  exhibition  of  his  works  at 
Besancon,  Dijon,  Munich  and  Frankfort,  in  1854,  made  his 
reputation,  and  in  1849-57  and  61  he  received  many  medals 
and  honors.  In  1871  he  was  sentenced  to  six  months'  imprison- 
ment as  chief  instigator  of  the  overthrow  of  the  Vendome 
Column,  and  after  his  release  he  retired  to  Switzerland.  He 
was  an  intense  but  unemotional  realist;  his  landscapes  are 
distinguished  by  truthful  rendering,  simplicity  and  careful 
finish;  his  coloring,  especially  his  green,  is  ever  sobre  yet 
warm  and  rich.  Among  his  best  known  works  are:  ** After- 
noon at  Ornans,"  Lille  Museum;  "Stars  in  Springtime," 
Marseilles  Museum;  "Valley  of  Puits  Noir,"  Luxembourg 
Museum;  "Woman  With  a  Parrot,"  Metropolitan  Museum, 
and  "A  Beggar's  Alms  House,"  Louvre. 

5.     "Landscape."     Scene  in  Switzerland. 


13 


CRANACH,  LUCAS   (The  Elder). 

German:  born  Kronach,  1472;  died  Weimar,  1553;  histori- 
cal and  portrait  painter.  In  1493  he  accompanied  his  patron, 
the  Elector  Frederick  the  Wise,  to  Holy  Land;  in  1504  was 
established  at  Wittenberg  as  court  painter,  and  in  1508  he 
received  a  coat-of-arms  and  patent  of  nobility.  He  was  a 
man  of  much  importance  in  Wittenberg,  for  he  was  twice 
(1537  and  1540)  elected  burgomaster  of  the  town  where, 
besides  his  large  art  workshops,  he  carried  on  a  book-binding 
business  and  an  apothecary's  shop.  In  1509  Cranach  was 
sent  by  the  Elector  on  an  embassy  to  the  art-loving  Emperor 
Maximilian;  during  his  visit  he  painted  the  portrait  of  the 
young  prince,  later  Charles  V.,  and  afterwards  executed  some 
drawings  for  what  is  called  Maximilian's  Prayer  Book. 
Cranach  held  the  office  of  court  painter  to  the  House  of 
Saxony  under  three  successive  Electors,  the  last  one  being 
the  noble  but  ill-fated  Frederick  the  Magnanimous,  whose 
captivity  the  artist  shared,  after  the  battle  of  Muhlberg  at 
Ausberg,  where  he  met  and  painted  Titian  in  1552.  Cranach 
was  a  prolific  painter  and  his  works  are  to  be  found  in  art 
galleries  and  churches  throughout  Europe.  His  reputed  paint- 
ings %pe  of  unequal  merit,  chiefly  because  many  ascribed  to 
him  are  atelier-works,  done  under  his  direction  by  his  sons 
and  pupils.  His  work  may  be  divided  into  two  distinct  periods : 
the  paintings  done  in  his  first  manner,  before  1520,  and  after 
a  short  period  of  transition,  those  done  in  his  second  manner, 
which  dates  from  1530.  Lucas  Cranach,  the  younger,  born 
in  1515,  succeeded  his  father,  and  his  work  is  often  confused 
with  that  of  the  elder.  Cranach  was  equally  well-known  as 
an  engraver,  and  Heller  accredits  him  with  more  than  eight 
hundred  prints,  mostly  wood-cuts,  though  he  executed  a  few 
copper  plates.  His  works  were  usually  signed  with  the  crest 
bestowed  on  him  by  Frederick  the  Wise. 

6.    "Christ  Blessing  the  Children"  (from  the  Brett  collec- 
tion).   A  magnificent  work,  painted  in  Cranach 's  early  manner. 


15 


signed  with  his  crest  and  dated  1510.  This  picture  suggests 
an  altar  piece  and  is  believed  to  be  a  portion  of  a  much  larger 
painting.  The  central  figure  is  very  similar  to  that  in  "Our 
Lord  and  the  Sinning  Woman,"  by  Crai^ach,  in  the  Alto 
Pinakothek,  Munich. 


17 


DAUBIGNY,  CHARLES  FRANQOIS. 

French:  born  Paris,  1817;  died  Paris,  1878:  one  of  the 
most  distinguished  and  celebrated  of  French  landscape  painters 
and  etchers;  son  of  Edme  Frangois  Daubigny,  under  whose 
tuition  he  painted  boxes,  clock  cases  and  other  articles  of 
commerce.  In  1835  he  visited  Italy,  and  on  his  return  to 
France  the  following  year  he  entered  the  studio  of  Paul  De- 
laroche.  He  first  exhibited  at  the  Salon  in  1838.  He  was 
also  an  etcher  of  note ;  his  prints  are  now  rare  and  are  charac- 
terized by  their  purity  of  effect;  several  of  his  etchings 
appeared  in  Curmer's  "Jardin  des  Plantes,"  "Beaux  Arts," 
and  in  the  ''Artiste";  but  the  best  are  "Le  Buisson"  and 
"Le  Coup  de  Soleil,"  after  the  pictures  of  Ruisdael  in  the 
Louvre.  Some  of  his  finest  paintings  are  river  scenes,  which 
he  often  painted  from  a  barge  fitted  up  as  a  floating  studio. 
Among  his  best  works  are  the  two  in  the  Luxembourg  Gallery, 
''Sluice  in  the  Valley  of  Optevoz"  (1855),  and  "The  Vint- 
age" (1863). 

Awards :  medal,  French  Salon,  1848  and  1853 ;  medal,  Paris 
Universal  Exposition,  1855  and  1867. 

7.  "The  Banks  of  the  River  Oise,  near  Isle  d'Adam," 
From  the  collection  of  Mr.  Marczell  von  Nemes,  Erdler  von 
Janoshalma,  Budapest. 


19 


DUPEE,  JULES. 

French:  born  Nantes,  1811;  died  L'Isle  -Adam,  1889;  Bar- 
bizon  school.  He  learned  the  rudiments  of  art  as  a  decorator 
in  the  porcelain  factory  of  his  father,  and  later  was  for  a  short 
time  pupil  of  Laugee  and  Pils,  in  Paris,  but  is  mainly  con- 
sidered self-taught.  He  spent  much  time  wandering  through 
the  neighboring  country,  painting  studies  out  of-doors  with 
simple  fidelity;  and  untrammelled  by  school  traditions,  he 
came  to  Paris  at  the  age  of  twenty-three  and  exhibited  three 
pictures  in  the  Salon  of  1831.  He  was  awarded  a  medal  in 
1833,  and  continued  to  exhibit  until  1839,  when  he  sent  seven 
landscapes  to  the  Salon;  after  that  he  did  not  contribute 
until  1852.  In  1867  he  sent  twelve  works  to  the  Universal 
Exhibition,  and  although  he  was  only  awarded  a  second  class 
medal,  these  pictures  were  regarded  as  masterpieces.  His 
"View  of  the  Fields  Near  Southampton,"  in  1835,  brought 
him  congratulations  from  the  most  celebrated  painters  of  the 
romantic  school.  Eugene  Delacroix  never  tired  of  seeing  and 
studying  this  picture.  Dupre  was  greatly  interested  in  the 
work  of  Constable,  and  assisted  Rosseau  to  become  known, 
even  taking  a  studio  and  working  with  him.  At  the  Centenary 
Exposition  in  the  Champ  de  Mars,  a  fine  collection  of  his 
work  was  shown,  including  some  of  his  most  famous  sea  pieces. 
These  were  mostly  painted  during  the  siege  of  Paris,  when 
he  was  shut  up  in  his  home  at  Cayeux-sur-Mer.  He  was  the 
last  painter  of  the  romantic  school  of  landscape,  and  was 
primarily  a  colorist. 

8.  "Cows  in  a  Landscape."  From  the  collection  of  M. 
Thiebault-Sisson,  Paris. 


21 


FURINI,  FRANCISCO. 

Italian:  born  Florence,  1604;  died  Florence,  1649;  pupil 
of  his  father,  Filippo  Furini,  a  portrait  painter,  and  later  of 
Passignano,  Bilevelt  and  Matteo  Rosselli;  afterwards  going 
to  Rome  he  devoted  himself  extensively  to  the  study  of  the 
works  of  Guido.  In  1644  he  was  appointed  curate  at  Mugello, 
near  Borgo,  San  Lorenzo,  where  he  painted  some  of  his  best 
pictures.  On  his  return  to  Florence  he  won  considerable  repu- 
tation for  painting  the  nude  in  mellow  and  tender  coloring. 
He  had  a  preference  for  imitating  the  style  of  Albani  and 
drew  with  both  elegance  and  accuracy.  Furini  was  particu- 
larly successful  with  the  delicate  forms  of  women  and  children, 
and  generally  chose  his  subjects  where  such  figures  could  be 
introduced  with  the  happiest  effect.  Among  his  works  are: 
' '  Magdalen  in  the  Desert, ' '  Siena  Academy ;  ' '  Birth  of  Cyrus,' ' 
Metropolitan  Museum,  New  York ;  ' '  Creation  of  Eve, ' '  Palazzo 
Pitti,  Florence. 

9.    "Girl  With  a  Vase." 


23 


GAINSBOROUGH,  THOMAS. 

English :  born  Sudbury,  Suffolk,  1727 ;  died  London,  1788 ; 
portrait  and  landscape  painter;  son  of  John  Gainsborough,  a 
clothier.  In  1741  he  was  sent  to  London  and  placed  in  the 
care  of  a  silversmith  who  introduced  him  to  Gravelot,  a  French 
engraver,  from  whom  he  learned  the  art  of  etching.  Gravelot 
recognized  his  great  ability  and  obtained  for  him  permission 
to  enter  Martin  Lane's  Academy,  where  for  three  years  he 
worked  with  Francis  Hayman,  the  historical  painter.  Later 
he  set  up  for  himself  in  London,  but  after  a  short  and  un- 
successful struggle  as  a  portrait  and  landscape  painter  he 
returned  home,  and  in  1760  settled  in  Bath,  where  he  devoted 
himself  chiefly  to  portraiture.  In  1766  he  became  a  member 
of  the  Society  of  Artists  and  in  1768  was  one  of  the  foundation 
members  of  the  Royal  Academy.  In  1774  he  went  again  to 
London  and  won  such  a  reputation  that  he  was  considered 
the  rival  of  Reynolds  in  portraiture  and  of  Wilson  in  landscape 
painting.  Ruskin  called  him  one  of  the  purest  colorists  of  the 
English  school,  and  his  rival.  Sir  Joshua  Reynolds,  observed  of 
him:  ''Whether  he  excels  in  portraits,  landscapes  or  fancy 
pictiu'es,  it  is  difficult  to  determine."  His  portraits  are  mucli 
loved  and  well  known.  One  of  his  most  charming  works,  and 
a  source  of  everlasting  delight  to  all  artists,  is  his  famous 
portrait  of  "Master  Buttall"  (The  Blue  Boy),  a  masterpiece 
of  difficult  color  handling,  in  the  possession  of  the  Duke  of 
Westminster  (Grosvenor  House,  London).  Besides  his  paint- 
ings, Gainsborough  designed  and  etched  eighteen  plates,  and 
also  executed  three  plates  in  aquatint.  His  life  work  consists 
of  more  than  three  hundred  paintings,  two  hundred  and  twenty 
of  which  are  portraits. 

10.  ''Landscape"  (from  the  Brett  collection).  An  early 
example  of  the  master's  work  in  landscape. 


25 


GURREY,  ALFRED  R. 

Born  in  England;  came  to  America  about  1870.  Studied 
painting  in  San  Francisco,  under  the  English  portrait  painter 
Yates,  Later  he  was  greatly  influenced  by  the  work  of  Jules 
Tavernier,  Alfred  Rodriquez  and  Charles  Rollo  Peters.  He 
came  to  Hawaii  in  1899,  and  since  then  has  devoted  much  of 
his  time  to  painting  island  scenery.  His  work  usually  finds 
expression  in  the  beauties  of  sea  and  coast. 

11.    "The  Surf,"  Kauai,  Hawaiian  Islands. 


27 


HITCHCOCK,  DAVID  HOWARD. 

Born  Hilo,  Hawaii,  1861;  American  parents.  First  studied 
painting  in  San  Francisco,  1885-86,  under  Virgil  Williams. 
In  1890  he  went  to  Paris  and  from  1890  to  1893  studied  under 
Bouguereau  and  Ferrier.  He  exhibited  in  the  Paris  Salon  of 
1893,  and  the  same  year  returned  to  Hawaii.  Since  then 
he  has  made  his  home  in  Honolulu,  is  well-known  as  a  painter 
of  island  scenery,  and  has  met  with  much  success.  He  received 
a  gold  medal  at  the  Exposition  in  Seattle,  1909. 

12.    **Koa  Forest,"  Kauai,  Hawaiian  Islands. 


29 


HOFMANN,  HEINRICH. 

German:  born  Darmstadt,  1824;  died  Dresden,  1902;  his 
torical  and  portrait  painter;  pupil  of  DUsseldorf  Academy 
under  Theodor  Hildebrandt  and  Schadow,  and  later  of  Ant- 
werp Academy.  After  visiting  Holland  and  Paris,  he  returned 
to  Germany  and  worked  in  Munich  and  Frankfort.  In  1854 
he  went  to  Italy,  and  spent  four  years  in  Rome  where  he  was 
much  influenced  by  Cornelius.  In  1862  he  returned  to  his 
native  land  and  settled  in  Dresden;  became  honorary  member 
of  the  Academy  in  1868  and  professor  in  1870.  Among  his 
well-known  works  are:  "King  Enzio  in  Prison"  (1851),  Frei 
burg  Gallery;  "Taking  of  Christ"  (1858),  Darmstadt  Museum; 
"Othello  and  Desdemona,"  "St.  Cecilia,"  and  "Christ  in 
the  Temple,"  Dresden  Gallery;  "Sermon  on  the  Lake," 
National  Gallery,  Berlin. 

13.    "Mary  at  the  Tomb  of  Christ." 


31 


ISRAELS,  JOSEF. 

Dutch:  born  Amsterdam,  1824;  died  August  12,  1911; 
pupil  of  Kruseman,  in  Amsterdam,  and  of  Pieot  in  Paris.  His 
genre  scenes  from  Dutch  maritime  life  are  superior  to  his 
earlier  historical  pieces ;  all  of  his  work  is  rich  in  human  feel- 
ing, full  of  sentiment  and  a  trifle  melancholy.  He  humanizes 
color;  it  speaks  under  his  touch — ^the  language  of  those  who 
suffer ;  he  loves  the  sombre  cabins  of  the  fishermen  and  of  the 
humble  people,  and  there  is  always  to  be  found  in  his  work 
a  very  lasting  and  human  appeal. 

Awards:  third  class  medal  Paris  Salon,  1867;  Chevalier 
of  the  Order  of  Leopold,  1876;  Chevalier  of  the  Legion  of 
Honor,  1876 ;  Officier,  1878 ;  first  class  medal  Paris  Salon,  1878 ; 
medal  at  Philadelphia.  Among  his  works  are:  "William  of 
Orange  Defying  Decrees  of  King  of  Spain";  "Fishing  Boats 
Shipwrecked  Off  Scheveningen";  "Returning  Home  From  the 
Field";  "Waiting  for  the  Herring  Boats";  "Sick  Mother"; 
"First  Sail";  "Madonna  in  the  Hut,"  in  the  Amsterdam 
Museum;  and  "Frugal  Meal,"  in  the  Vanderbilt  collection, 
New  York. 

14.  "A  Dutch  Interior."  Small  water-color  painting,  soft 
and  harmonious  in  color. 


33 


JACQUE,  CHARLES  EMILE. 

French:  born  Paris,  May  23,  1813;  died  Paris,  May  7,  1894; 
painter,  etcher  and  engraver;  began  his  art  career  as  an 
engraver,  but  later  painted  animal  and  landscape  pictures  with 
notable  success.  Few  French  artists  have  a  more  widely  ex- 
tended or  better  deserved  reputation.  He  was  a  great  lover 
of  animals  and  of  country  life,  excelled  in  his  most  accurate 
knowledge  of  sheep  and  poultry,  and  has  often  been  called 
"Le  Raphel  des  Porceaux,"  from  his  most  truthful  rendering 
in  his  pictures  of  pigs.  His  work  obtained  much  popularity 
in  England,  where  many  of  his  paintings  are  to  be  found  in 
private  collections.  He  is  represented  in  most  of  the  great 
museums  in  Europe  and  America.  A  very  fine  example  of 
his  work  is  his  "Flock  of  Sheep  in  a  Landscape,"  painted  in 
1861,  and  purchased  by  the  French  government  for  the  Luxem- 
bourg Museum. 

Awards:  medal  of  the  third  class,  Paris  Salon,  1861;  a 
rappel  in  1863 ;  medal  in  1864 ;  Legion  of  Honor  in  1867 ;  gold 
medal,  Universal  Exposition  of  1889,  Paris ;  and  as  an  engraver : 
medal  of  the  third  class,  1851 ;  rappel  in  1861  and  1863 ;  medal 
of  the  second  class  in  1867;  Grand  Prix  in  1889. 

15.  "Sheep  in  a  Stable."  A  splendid  example  of  the 
work  of  Jacque;  the  deep,  rich  color  produces  a  golden  light 
which  gives  great  richness  and  quality  of  tone.  This  picture 
is  from  the  collection  of  Robert  Davis,  President  of  the  Banli 
of  Africa,  England,  and  was  purchased  in  France  by  F. 
Montaigne. 


35 


JORDAENS,  JAKOB. 

Flemish:  born  Antwerp,  1593;  died  Antwerp,  1678;  pupil 
of  Adam  van  Noort,  whose  daughter  he  married.  Instead  of 
going  to  Italy  he  contented  himself  with  the  study  of  the  works 
of  the  Italian  masters  available  in  Flanders,  such  as  Titian 
and  Paolo  Veronese.  His  ability  attracted  Reubens  and  ho 
commissioned  Jordaens  to  assist  him  in  preparing  cartoons 
for  the  tapestries  of  the  King  of  Spain.  In  1638  he  painted 
for  the  same  monarch  the  fine  "Landscape  With  the  Story  of 
Vertumnus  and  Pomona."  This  picture,  with  "Pythagoras" 
by  Reubens,  was  taken  away  by  Joseph  Bonaparte  on  his  ab- 
dication of  the  throne  of  Spain.  Among  ttie  patrons  of  Jordaens 
were  the  King  of  Sweden  and  the  Princiess  Amelia  of  Orange, 
for  whom  he  painted  his  chef-d'oeuvre,  "The  Triumph  of 
Prince  Frederick  Henry  of  Nassau."  In  1671  he  and  his 
youngest  daughter  became  followers  of  Calvin,  and  he  held 
subjects,  animals  and  scenes  of  revelry,  than  of  sacred  and 
His  gifts  were  better  adapted  to  the  representation  of  fabulous 
subjects,  animals  and  scenes  of  revelry,  than  of  sacred  and 
historical  pictures.  His  works  are  numerous  and  are  to  be 
found  in  most  of  the  great  museums  in  Europe  and  in  many 
public  buildings  throughout  Belgium.  Jordaens  also  executed 
a  few  spirited  etchings,  which,  though  done  in  a  hasty  manner 
show  the  work  of  a  master. 

16.  "Pan,  Midas  and  Apollo"  (from  the  Brett  collection). 
A  forest  scene  painted  on  copper. 


37 


KEITH,  WILLIAM. 

Born  Aberdeen,  Scotland,  1839;  died  Berkeley,  California, 
1911.  Came  to  America  when  a  young  man  and  began  his 
artistic  career  in  New  York  as  an  engraver;  in  1859  moved 
to  California  and  devoted  himself  to  landscape  painting.  In 
1869  Keith  went  to  Europe  to  study,  and  spent  some  time  in 
Diisseldorf ;  later  he  went  to  Spain  and  Paris ;  pupil  of  Achen- 
bach  and  Carl  Marr.  While  best  known  as  a  landscape  painter, 
he  also  produced  many  successful  portraits;  was  friend  and 
contemporary  of  George  Innes,  by  whose  work  he  was  un- 
doubtedly somewhat  influenced.  Aside  from  his  art  the  per- 
sonality of  Keith  was  most  charming  and  delightful,  and  won 
for  him  many  lifelong  friends;  and  much  of  his  work  reflects 
the  same  spirit  which  so  endeared  him  to  all  who  knew  him. 
He  delighted  in  strong,  rich  color  and  in  the  dramatic  aspects 
of  nature;  his  paintings  are  toneful,  poetical,  sometimes 
decorative,  and  deal  with  the  emotions  aroused  and  suggested 
by  landscape  under  certain  conditions  of  light  and  atmosphere. 
His  paintings  are  included  in  the  permanent  collections  of 
the  Chicago  Institute;  the  Brooklyn  Institute;  the  Corcoran 
Gallery;  the  Art  Museum,  Portland,  Oregon;  the  National 
Gallery  of  Art,  Washington,  D.  C,  and  in  many  private 
collections. 

17.  "Landscape." 

18.  "Springtime,"  an  example  of  the  best  period  of 
Keith's  work. 


39 


LOMBARD,  LAMBERT. 

Flemish:  born  Liege,  Belgium,  1505;  died  Liege,  1566; 
painter,  archaeologist  and  poet ;  pupil  of  Arnold  de  Beer,  John 
de  Meuse  and  Gbssart.  He  went  to  Italy  with  Cardinal  Pole 
in  1538,  and  there  further  studied  with  Andrea  del  Sarto 
In  1528  he  was  appointed  official  painter  to  Cardinal  Erard 
de  la  Marck,  prince  bishop  of  Liege.  Among  his  works,  now 
very  rare,  are:  "Descent  from  the  Cross,"  National  Gallery, 
London;  "Martyrdom  of  St.  Barbara,"  St.  Bartholomew's, 
Liege;  "Vision,"  Royal  Collection,  the  Hague;  "Last  Supper" 
(1531),  Brussels  Museum,  and  the  "Adoration  of  the  Shep- 
herds," Vienna  Museum.  Besides  his  paintings  Lombard 
executed  a  number  of  unique  drawings  for  painters,  glass 
painters,  sculptors  and  goldsmiths.  About  thirty  of  his  com- 
positions have  been  engraved  and  many  of  his  drawings,  which 
are  generally  signed  and  dated,  have  been  preserved.  He 
was  also  an  architect;  the  north  porch  of  the  Church  of  St 
James  and  a  house  in  the  Haute  Sauveniere,  at  Liege,  are  said 
to  have  been  built  from  his  designs. 

19.  "Lord's  Supper."  Painted  in  1528  (from  the  Brett 
collection),  and  very  similar  to  a  painting  in  the  Brussels 
Museum  by  Lombard,  of  a  date  three  years  later. 


41 


LUINI,  BERNAEDINO. 

Italian:  born  Luino,  Italy,  about  1467;  died  1533.  He 
was  of  the  Lombard-Milanese  school;  pupil  of  Stefano  Scotto 
Civerchio,  and  in  the  middle  of  his  career  became  a  follower 
of  Leonardo  de  Vinci,  whose  manner  he  so  closely  imitated 
that  several  of  his  best  works  have  for  a  long  time  been  at- 
tributed to  Leonardo.  Many  of  his  faces  wear  the  Leonard- 
esque  smile,  though  it  has  not  the  same  depth  of  meaning; 
and  his  manner  of  painting  while  very  similar  to  that  of 
Leonardo,  never  quite  reaches  that  almost  superhuman  degree 
of  finish  which  distinguishes  the  Gioconda  among  pictures. 
Luini  worked  in  the  churches  of  Milano  and  the  neighboring 
towns.  Milano,  Saronna  and  Lugano  still  possess  his  best 
pictures,  which  for  sweetness  and  depth  of  feeling  are  un- 
rivalled. Among  his  best  known  works  are:  the  frescos  in 
the  Monastero  Maggiore  of  Milano;  "The  Passion"  (fresco) 
in  Lugano;  "St.  Catherine,"  in  the  Munich  Gallery;  "Holy 
Family"  and  "Adoration  of  the  Magi,"  in  the  Louvre;  and 
the  "Daughter  of  Herodias,"  in  the  Vienna  Gallery. 

20.  "The  Holy  Family"  (from  the  Brett  collection).  A 
very  beautiful  example  of  the  work  of  Luini. 


43 


MAC  EWEN,  WALTER. 

American:  born  Chicago,  Illinois,  1860;  painter,  illustrator 
and  mural-decorator;  studied  in  Munich  and  later  in  Paris; 
pupil  of  Corman  and  Robert-Fluery,  Paris;  was  one  of  the 
first  American  artists  to  win  recognition  in  Europe.  His 
work  is  full  of  exquisite  harmony  and  charm,  and  he  is  especi- 
ally successful  with  his  subjects  drawn  from  the  private  life 
of  the  Dutch  bourgeoisie.  His  mural  decorations  in  the  Library 
of  Congress  are  a  series  illustrating  the  stories  of  Greek  heroes. 

Awards:  honorable  mention,  Paris  Salon,  1886;  silver 
medal,  Paris  Expcfsition,  1889;  silver  medal,  London,  1890; 
gold  medal,  from  the  City  of  Berlin,  1891;  medal,  Columbian 
Exposition,  Chicago,  1893;  medal  of  honor,  Antwerp,  1894; 
Chevalier  of  Legion  of  Honor  of  France,  1896;  second  class 
gold  medal,  Munich,  1897;  silver  medal,  Paris  Exposition, 
1900;  first  class  gold  medal,  Munich,  1901;  first  class  medal. 
Vienna,  1902;  Lippencott  Prize,  Philadelphia,  1902;  Harris 
Prize,  A.  L  C,  1902;  gold  medal,  St.  Louis,  1904;  first  class 
gold  medal,  Liege,  Belgium,  1905;  Officier,  1908;  Chevalier 
of  Order  of  St,  Michel,  Bavaria,  1909;  Officier,  Order  of 
Leopold  II,  Belgium,  1909. 

Member  of:  International  Jury  of  Awards,  San  Francisco, 
P.  P.  I.  E.,  1915;  National  Institute  of  Arts  and  Letters; 
Associate  of  National  Academy  of  Design ;  First  Vice-President 
of  Paris  Society  of  American  Painters. 

21.  "Waiting."  A  characteristic  example  of  the  artist's 
work,  representing  a  typical  Dutch  interior  with  a  young  girl 
waiting  and  watching  by  the  window.  The  coloring  is  full 
of  harmony  and  tenderness. 


45 


MOLENAER,  JAN  MIENSE. 

Dutch:  born  Haarlem  early  in  the  17th  century;  died 
Haarlem,  1668;  imitator  if  not  a  pupil  of  Franz  Hals  and 
later  was  much  influenced  by  the  study  of  Rembrandt.  His 
genre  pictures  representing  peasant  life  are  rich  and  warm 
in  color,  full  of  animation  and  humor,  but  seldom  coarse. 
Many  of  his  country  scenes  are  painted  in  the  style  of  Steen 
and  Brauwer.  Some  of  his  best  known  and  accessible  pictures 
are:  "Peasant  Musicians,"  Amsterdam  Museum;  "The  In- 
terior of  an  Inn,"  Berlin  Museum;  "The  Jealous  Wife," 
Copenhagen  Museum;  "Peasant  and  Fiddler,"  Dresden  Gal- 
lery; "Peasants  Carousing,"  Leipsic  Museum;  "Peasant 
Woman  and  Boy,"  Buckingham  Palace,  London;  "Dutch 
Interior,"  Brussels  Museum;  "Village  Festival,"  Hague 
Museum. 

22.  "Exterior  of  an  Inn."  Bought  from  an  old  English 
rectory  in  1879. 


47 


MURILLO,  BARTOLOME  ESTEBAN. 

Spanish:  born  Seville,  January  1,  1618;  died  Seville,  1682, 
as  a  result  of  a  fall  from  the  scaffold  while  painting  his  last 
work,  "The  Marriage  of  St.  Catherine,"  at  Cadiz.  His  first 
master  was  Juan  del  Castillo,  a  relative,  who  taught  him  the 
elementary  details  of  an  artist's  education.  In  1640  Castillo 
left  Seville,  and  Murillo,  then  twenty-two  years  of  age,  from 
that  time  on  supported  himself  with  his  brush.  By  1643  he 
had  earned  enough  to  enable  him  to  go  to  Madrid,  where  he 
introduced  himself  to  Velasquez,  then  in  the  zenith  of  his 
fame.  The  great  master  not  only  admitted  Murillo  to  his 
studio  but  treated  him  with  great  kindness,  procuring  for 
him  access  to  the  Royal  collection,  and  giving  him  daily 
instruction.  After  three  years'  study  Murillo  returned  to 
Seville  in  1646,  and  there  undertook,  for  a  very  small  sum. 
his  first  great  work — a  series  of  eleven  pictures  for  the  Fran- 
ciscan Convent  within  the  walls  of  Seville.  From  1674  to 
1680  he  was  again  employed  by  his  friends  the  Franciscans 
to  decorate  the  Capuchin  Convent  outside  Seville.  It  is  claimed 
that  he  remained  for  three  years  entirely  within  its  walls 
and  executed  over  twenty  important  works,  seventeen  of  which 
are  now  in  the  Seville  Museum.  The  most  celebrated  of  these 
is  that  of  ''St.  Thomas  of  Villanueva  Distributing  Alms." 
Among  other  beautiful  works  by  Murillo  are:  "Virgin  and 
Infant  Christ,"  Palazzo  Pitti;  "Virgin  and  Infant  Jesus," 
the  Hague  Gallery  (from  a  monastery  at  Ypres)  ;  "Madonna 
and  Child,"  Dresden  Gallery;  "St.  Anthony  of  Padua  With 
the  Infant  Jesus,"  Berlin  Museum;  "The  Annunciation," 
Amsterdam  Gallery. 

23.  "St.  Luke  Painting  the  Virgin"  (from  the  Standish 
Hall  collection). 


49 


PRUD'HON,  PIERRE. 

French:  born  Cluny,  1758;  died  Paris,  1823;  portrait  and 
historical  painter.  Owing  to  the  early  death  of  his  father,  a 
stone-mason,  his  education  was  entrusted  to  the  monks  of  the 
Abbey  of  Cluny.  The  pictures  decorating  the  walls  of  the 
monastery  early  developed  his  taste  for  art,  and  utterly  un- 
aided he  taiight  himself  the  elements  of  oil  painting.  When 
sixteen  years  old  the  Bishop  of  Macon  placed  him  in  the 
Academy  of  Dijon,  where  he  made  great  progress;  but  at 
nineteen  he  contracted  a  most  unfortunate  marriage  which 
seriously  interfered  with  his  plans  for  work.  In  1780  he 
worked  in  Paris  with  an  engraver  named  Wille,  and  later  in 
Rome  he  studied  closely  the  masterpieces  of  Raphael,  Correg- 
gio  and  da  Vinci.  In  1789  he  returned  to  Paris,  where  un- 
known to  fame  he  struggled  for  many  years  to  provide  for 
his  family,  even  accepting  orders  for  commercial  work.  In 
1794  he  went  to  Franche  Conte  where  he  spent  two  years 
painting  portraits.  After  his  return  to  Paris  his  reputation 
gradually  increased  and  his  position  in  the  art  world  was 
at  last  assured,  when  just  before  the  close  of  the  century  he 
was  assigned  apartments  in  the  Louvre  to  execute  ''Truth 
Descending  from  Heaven."  His  unhappy  marriage  was  broken 
off  and  he  spent  his  last  score  of  years  with  Constance  Mayer, 
a  student  whom  he  met  in  1803,  when  she  was  seeking  for  a 
master  to  replace  Greuze.  Though  the  recognition  of  Prud'hon 
was  a  tardy  one,  it  brought  him  many  honors  in  quick  suc- 
cession. Among  these  were  the  commission  for  the  ceiling 
in  the  Louvre,  ' '  Diana  Imploring  Jupiter " ;  and  the  well- 
known  "Divine  Justice  Pursuing  Crime,"  originally  for  the 
Palais  de  Justice,  and  for  which,  in  1808,  he  received  the 
Legion  of  Honor,  and  in  1816  was  elected  a  member  of  the 
Institute.  Prud'hon  forms  an  interesting  figure  in  the  history 
of  French  art,  and  his  works  have  a  grace  and  tenderness 
which  he  ascribes  to  his  faithful  study  of  Leonardo.    He  died 


51 


in  1823,  never  having  fuljy  recovered  from  the  shock  of  the 
suicide  of  Mademoiselle  Mayer,  in  1821, 

24.  "Portrait  of  Mademoiselle  Mayer."  A  small  though 
characteristic  example  of  Prud'hon's  w^ork,  painted  in  1821 
after  the  death  of  Mademoiselle  Mayer,  from  memory  and 
existing  sketches.  This  picture  was  next  to  the  last  work  by 
Prud'hon,  the  last  being  his  famous  **  Crucifixion, "  now  in 
the  Louvre. 


53 


REDFIELD,  EDWARD  WILLIS. 

American:  born  Bridgeville,  Delaware,  December  19,  1868; 
landscape  painter;  pupil  of  Pennsylvania  Academy  of  Fine 
Arts,  and  later  of  Bouguereau  and  Robert-Fluery  in  Paris. 
In  his  manner  and  method  of  painting,  his  work  is  a  reflection 
of  the  impressionists,  modified  and  adapted  to  his  own  use. 
He  has  been  called  "a  painter  of  winter-locked  nature";  and 
by  many  is  considered  at  his  best  when  portraying  winter 
scenes.  His  "February"  was  acquired  by  the  French  govern- 
ment for  the  Luxembourg  Museum,  and  is  a  fine  example 
of  his  work. 

Awards :  bronze  medal  Paris  Exposition,  1900 ;  bronze  medal 
Buffalo  Exposition,  1901 ;  Temple  gold  medal  Pennsylvania 
Academy  of  Fine  Arts,  1903 ;  second  Hallgarten  Prize,  National 
Academy  of  Design,  1904 ;  Shaw  Fund  Prize,  Society  of  Ameri- 
can Artists,  1904;  silver  medal  St.  Louis  Exposition,  1904; 
Jenny  Sesnan  gold  medal  Pennsylvania  Academy  of  Fine  Arts, 
1905 ;  second  medal  Carnegie  Institute,  Pittsburg,  1905 ;  Webb 
Prize,  Society  American  Artists,  1905 ;  Fischer  Prize  and  Cor- 
coran bronze  medal,  Corcoran  Gallery,  1907;  gold  medal  of 
honor,  Pennsylvania  Academy  of  Fine  Arts,  1907 ;  first  Clark 
Prize  and  Corcoran  gold  medal,  Corcoran  Gallery,  1908;  hon- 
orable mention,  Paris  Salon,  1908;  third  medal,  Paris  Salon, 
1909 ;  second  Harris  medal,  Art  Institute,  Chicago,  1909 ;  gold 


1'  :m  ;] 


-n 


REMBRANDT,  HARMENSZ  VAN  RYN. 

Dutch:  born  Ley  den,  1606;  died  Amsterdam,  1662;  son  of 
Harmen  Gerritsz,  a  miller,  and  of  Neeltgen,  daughter  of  Wil- 
lems  van  Snyddtbroek,  a  baker.     The  parents  of  Rembrandt 
were  well  off,  and  desiring  him  to  have  a  good  education, 
entered  him  in  1620  as  a  student  of  the  Faculty  of  Letters  at 
the  Leyden  University;  but  having  little  taste  for  books  Rem- 
brandt soon  convinced  his  father  that  his  love  for  art  must  be 
allowed  to  develop,  and  he  was  placed  in  the  studio  of  Jacob 
van  Swanenburch,  a  painter  of  mediocre  ability.    After  three 
years'  work  Rembrandt  gave  such  promise  of  future  excel- 
lence that  he  was  sent  to  the  studio  of  Pieter  Lastman  at  Am- 
sterdam.   But  Lastman  had  visited  Rome  and  acquired  a  man- 
ner which  to  the  Dutch  school  seemed  artificial,   and  with 
which  Rembrandt,  an  earnest  seeker  after  truth  in  nature,  could 
have  no  sympathy.    So  he  returned  to  Leyden  and  set  himself 
to  study  and  practice  painting  alone  and  in  his  own  way.    His 
earliest  known  picture,  "St.  Paul  in  Prison,"  is  dated  three 
years  later  (1627),  and  is  in  Stuttgardt.     In  1631  he  moved 
to  Amsterdam,  where  he  remained  the  rest  of  his  life.    There, 
in  1632,  he  painted  his  first  corporation  picture,  the  famous 
* '  Lesson  in  Anatomy. ' '    In  1634  he  married  Saskia  van  Uylen- 
borch,   and  eight  years  later  Saskia   died,   only   one   of  her 
children,  Titus,  a  son,  surviving  her.    With  the  death  of  Saskia 
and  the  failure  of  "The  Night  Watch"  to  satisfy  its  subscrib- 
ers, the  popularity  of  Rembrandt  began  to  wane ;  his  financial 
affairs  became  involved  and  his  last  years  were  spent  in  com 
parative   poverty.     Some   years   later   he   married   Henrietta 
Stoffels,  his  servant,  but  was  again  left  alone  as  Henrietta 
died  in  1662.    He  was  a  most  prolific  worker,  and  is  generally 
considered  by  critics  to  have  been  both  the  greatest  painter 
and  etcher  of  all  time.     His  place  in  the  history  of  art  is 
unique;  no  one  has  ever  rivalled  him  in  the  management  of 
light  and  shade;  and  but  few  in  color,  in  character  or  in  the 
expression  of  deep  sentiment.    He  excelled  in  everything  he 


57 


seriously  attempted,  and  taking  up  the  art  of  etching,  which 
before  his  time  was  humble  and  insignificant,  he  set  it  on  a 
pedestal  around  which  artists  have  been  crowding  in  hopeless 
emulation  ever  since.  Technically  his  etchings  are  still  un- 
approached,  while  in  vigorous  dramatic  expression  no  one 
has  yet  surpassed  him. 

26.  ''Head  of  a  Man"  (from  the  Standish  Hall  collection), 
and  attributed  to  Rembrandt.  If  not  entirely  by  the  master 
himself,  it  was  the  work  of  his  school. 


59 


KENI,  GUIDO  (commonly  called  "GUIDO"). 

Italian :  bom  Calvenzano,  near  Bologna,  1575 ;  died  Bologna, 
1642.  His  father  was  a  musician  and  failing  to  persuade  his 
son  to  follow  in  his  own  profession,  placed  him  at  the  age  of 
ten  with  Denis  Calvaert,  an  Antwerp  painter  then  living  in 
Bologna,  and  nine  years  after,  in  the  rival  studio  of  the  Car- 
racci.  Guido  also  studied  fresco  painting  with  Ferrantini.  To 
this  period  belong  some  interesting  early  frescos  and  two  paint- 
ings, "The  Massacre  of  the  Innocents"  and  **The  Coronation 
of  the  Virgin."  About  1600  Guido  accompanied  Annibale 
Carracci  to  Rome,  to  help  in  the  decoration  of  the  Farnese 
Palace.  When  in  Rome  he  came  under  the  influence  of  Car- 
avaggio ;  also  studied  the  works  of  Raphael,  and  subsequently 
painted  what  is  usually  considered  his  finest  piece,  "Aurora 
Preceding  the  Chariot  of  Apollo, ''  on  the  ceiling  of  the  garden 
chapel  of  the  Palazzo  Rospigliosi.  He  executed  many  commis 
sions  for  churches,  monasteries  and  palaces:  notable  among 
these  is  "The  Crucifixion  of  St.  Peter,"  now  in  the  Vatican; 
and  "St.  Michael,"  in  the  Capucini  Church.  He  visited  about 
and  painted  in  many  cities  in  Italy,  and  in  1621  spent  some 
considerable  time  in  Naples,  but  like  many  other  great  artists 
was  driven  away  by  the  jealousy  of  the  Neapolitans,  leaving 
unfinished  what  many  consider  his  probable  masterpiece,  a 
"Nativity,"  in  S.  Martino. 

Soon  after  this  the  style  of  Guido 's  painting  changed, 
and  giving  up  the  pronounced  energetic  style  of  his  youth, 
he  adopted  what  is  usually  described  as  his  third  method, 
showing  a  preference  for  more  neutral  tints  and  extreme 
facility  of  handling  and  rapid  execution;  while  gradually 
the  tragic  representation  of  voluptuous  and  passionate  emo- 
tion gained  upon  him,  and  in  his  later  years  at  Bologna, 
he  created  many  "  Cleopatras, "  "Lucretias"  and  "Magdalens." 
His  last  works  were  forced  and  hurried,  for  it  is  said  that  his 
financial  difficulties,  growing  out  of  his  love  of  gambling,  were 
so  great  that  one  of  his  creditors  sat  over  him,  watch  in  hand 


61 


while  he  executed  work  for  him  by  the  hour.     He  died  in 
Bologna,  beset  by  fears,  troubles  and  debts. 

At  his  best,  the  work  of  Guido  is  admirable,  fine  in  color 
and  dramatic  force,  and  bold  and  free  in  execution.  His 
pictures  are  difficult  to  identify,  yet  a  few  marked  traits  may 
guide  the  expert  observer — ^the  large  eyes,  rather  close  nostrils, 
small  mouth,  and  manner  of  drawing  the  hands  and  feet.  Guido 
produced  also  several  fine  engraved  plates,  signed  with  his 
monogram.  His  pictures  are  to  be  found  in  most  of  the  well- 
known  galleries  of  Europe,  and  in  many  churches  and  palaces 
in  Italy. 

27.  "Penitent  Magdalen."  This  interesting  work  of  Guido 
was  found  near  Arco,  Lago  di  Carda,  Austria,  by  Mr.  Harald 
Mohr-Arlien,  of  Copenhagen,  Denmark. 


63 


REYNOLDS,  SIR  JOSHUA. 

English:  born  Plympton,  Devonshire,  1723;  died  London. 
1792;  the  greatest  of  all  English  portrait  painters;  son  of  the 
Reverend  Samuel  Reynolds  and  Theophila,  daughter  of  Mat- 
thew Potter,  one  of  the  Potters  of  Iddesleigh,  Devonshire. 
Both  parents  were  distinguished  for  their  learning.  The  artist 
was  intended  to  study  medicine  but  his  love  of  art  early 
asserted  itself  and  he  was  sent  to  London  in  1740  and  placed 
under  Thomas  Hudson,  the  best  known  portrait  painter  of  his 
time.  After  two  years'  study  he  returned  home  and  painted 
many  portraits  at  a  very  low  price ;  among  these  was  a  series 
of  portraits  for  the  Kendall  family,  for  which  he  received  about 
three  pounds  each.  In  1746  he  began  painting  in  London,  and 
in  1749  went  to  Rome  and  while  working  in  the  Sistine  Chapel 
caught  a  cold,  which  made  him  deaf  for  the  rest  of  his  life. 
In  1753  he  settled  in  London  and  painted  the  portrait  of  Com- 
modore Keppel  (collection  of  Lord  Albermarle),  and  laid  the 
foundation  of  both  his  great  reputation  and  fortune.  In  1768, 
when  the  Royal  Academy  was  established,  he  was  chosen  its 
first  president,  and  was  knighted  by  George  III.  After  the 
death  of  Allan  Ramsay  (1784),  he  became  principal  painter 
to  the  King.  He  exhibited  in  all  two  hundred  and  forty-five 
works  at  the  Royal  Academy,  his  contributions  averaging 
eleven  annually.  Reynolds  painted  many  historical  and  fancy 
subjects,  but  it  is  as  a  portrait  painter  that  he  excelled  all 
his  contemporaries.  Ruskin  considered  him  one  of  the  seven 
colorists  of  the  world,  placing  him  with  Titian,  Giorgione, 
Correggio,  Tintoretto,  Veronese  and  Turner.  Many  of  his  best 
works  are  in  the  National  Gallery,  London.  He  died  un- 
married and  was  buried  in  St.  Paul's  Cathedral,  near  Sir 
Christopher  Wren. 

28.  "The  Lady  With  the  Mask"  (from  the  collection  of 
Mr.  A.  Ramsden,  London).  This  painting  is  mentioned  in  the 
book  on  Reynolds,  by  Sir  "Walter  Armstrong,  and  is  a  portrait 
of  Miss  Elizabeth  Young,  afterwards  Mrs.  Pope,  a  well-known 


65 


actress  of  the  period.  The  head  and  bust  are  beautifully 
painted,  but  the  hands  are  badly  done,  being  probably  the 
work  of  students. 

29.    "Head  of  Puck"   (from  the  Brett  collection).     This 
is  one  of  a  series  of  Shakespeare  illustrations  made  by  Reynolds 


67 


RODRIQUEZ  de  MIRANDA,  NICOLAS. 

Spanish :  bom  1700 ;  died  Madrid,  1750 ;  brother  of  the  more 
famous  artist  Pedro  Rodriquez  de  Miranda.  Though  a  painter 
of  portraits  and  of  religious  subjects,  Nicolas  Rodriquez  is 
more  distinguished  for  his  landscape  paintings.  But  little  is 
known  of  the  details  of  his  life.  Two  very  interesting  examples 
of  his  work  and  of  the  old  Spanish  school  are  shown  in  these 
two  paintings. 

30.  **Our  Saviour."  Acquired  from  the  Standish  Hall 
collection,  1880. 

31.  "The  Virgin."  Acquired  from  the  Standish  Hall 
collection,  1880. 


69 


SCHREYER,  ADOLPH. 

German :  born  Frankf ort-on-the-Main,  1828 ;  died  Cronberg, 
1899 ;  pupil  of  the  Staedel  Institute  at  Frankfort ;  later  studied 
in  Stiittgardt,  Munich  and  Diisseldorf.  He  went  through  the 
Crimean  War  as  a  war  artist,  and  finally  settled  in  Paris  in 
1862,  but  returned  to  Germany  when  the  outbreak  of  the 
Franco-Prussian  War  necessitated  his  departure  from  France. 
He  won  distinction  as  a  painter  of  battle  scenes  and  horses; 
he  was  an  untiring  student  and  studied  horses  in  the  riding 
schools,  at  work,  and  in  his  travels  with  Prince  Thurn  through 
Hungary,  Wallachia  and  southern  Russia ;  and  while  he  accom- 
panied the  Austrians  on  the  march  through  the  Danubiau 
principalities  in  1854,  and  during  his  visit  to  Syria,  Egypt  and 
Algiers.  His  life  in  the  last  named  countries  is  reflected  in 
much  of  his  work. 

Awards :  appointed  court  painter  to  Grand  Duke  of  Meck- 
lenburg, 1862 ;  medal  Brussels,  1863 ;  medal  Paris  Salon,  1864, 
1865,  1867;  Order  of  Leopold,  1866;  medal  Munich,  1876. 

Many  of  his  works  are  owned  in  the  museums  of  Europe 
and  America,  and  in  a  number  of  private  collections. 

32.    "Arab  Horses  and  Landscape." 


71 


ST.  or  T.  S. 

The  name  of  this  painter  is  unknown,  but  the  two  pictures 
by  him  reflect  very  creditably  the  school  and  work  of  the 
period.  The  paintings  are  companion  pieces,  rich  in  color  and 
well  executed. 

33.  ** Still  Life."    Showing  monogram  and  dated  1690. 

34.  "Still  Life."    Showing  monogram  and  dated  1690. 


73 


TENIERS,  DAVID  (The  Younger). 

Flemish:  born  Antwerp,  1610;  died  Perck,  near  Brussels, 
1694;  pupil  of  his  father,  David  Teniers,  the  elder,  and  of 
Rubens  and  Brouwer.  He  was  a  painter  of  genre,  landscape 
and  portraits;  was  made  Master  of  Antwerp  Guild  in  1632, 
its  Dean  in  1644,  and  the  same  year  was  appointed  court  painter 
to  Archduke  Leopold  Wilhelm,  Governor  of  the  Netherlands 
Between  1648  and  1652  he  settled  in  Brussels ;  was  prime  mover 
in  the  foundation  of  the  Antwerp  Academy  in  1663,  and  in 
1679  was  received  into  the  Guild  at  Brussels.  He  received 
important  commissions  from  Philip  IV  of  Spain,  and  from 
the  royal  houses  of  Sweden  and  England.  Among  the  genre 
painters  of  Flanders  he  holds  first  place,  and  is  renowned  for 
his  picturesque  arrangement,  exquisite  harmony  of  coloring  in 
all  details,  and  the  light  and  sparkling  touch  which  character- 
izes all  his  pictures. 

Besides  his  paintings  he  produced  a  great  number  of  en 
gravings.  In  1660  he  published  in  Brussels  a  work  containing 
two  hundred  engravings  of  pictures  of  the  Italian  and  Flemish 
schools  in  the  Archduke's  gallery  and  executed  from  small 
copies  made  by  himself  from  the  originals.  Of  these  copies 
one  hundred  and  twenty  were  sold  in  the  Blenheim  Palace 
sale  (1886)  for  two  thousand  and  two  pounds  and  ten  shillings 
His  works  are  too  numerous  to  chronicle  and  are  to  be  found 
in  most  of  the  great  museums  of  the  world.  Three  of  those 
which  represent  him  in  the  Louvre  are:  "The  Temptation 
of  St.  Anthony,"  "St.  Peter's  Denial"  and  "The  Seven  Works 
of  Mercy." 

35.     "Kitchen   Scene"    (from  the   Brett   collection).     An 
interesting  example  of  the  work  of  Teniers. 


75 


TROUILLEBERT,  PAUL  DESIBE. 

French :  bom  Paris,  1829 ;  died  Paris,  1900;  pupil  of  Herbert 
and  Jalabert,  but  not  of  Corot  as  is  often  stated.  He  waa 
primarily  a  painter  of  genre  and  portraits  but  later  developed 
landscape  with  great  success.  In  the  Dumas  collection  a  pic- 
ture by  Trouillebert  had  the  distinction  of  being  mistaken  for 
a  Corot,  an  error  which  formed  the  subject  of  a  famous  lawsuit 
This  canvas  signed  "Corot"  by  a  forger  and  sold  to  the  elder 
Dumas  was  discovered  and  denounced  by  Trouillebert.  Dumas 
brought  suit  against  the  dealer  who  had  sold  him  the  painting 
and  won  his  suit.  Later  he  commissioned  Trouillebert  to  paint 
him  another  picture,  and  from  semi-obscurity,  Trouillebert 
suddenly  became  famous;  he  was  accused  by  the  critics  of 
copying  and  imitating  Corot,  but  to  the  very  last  he  insisted 
that  if  he  painted  Corots  he  was  unaware  of  it,  and  that  all 
he  desired  from  the  world  was  to  be  allowed  to  work  in  peace 
and  to  paint  nature  as  he  saw  it  in  his  own  way.  His  was  an 
unassuming  and  quiet  personality,  and  deplored  the  notoriety 
which  was  suddenly  forced  upon  him. 

36.    "Landscape."    Beautiful  and  harmonious  in  color  and 
full  of  poetry. 


77 


UNKNOWN  ARTIST. 

37.  "Landscape.''  A  good  example  of  the  English  or 
Scotch  school  of  the  period  of  a  hundred  or  hundred  and 
fifty  years  ago. 


79 


VERONESE,  BONIFACIO   (The  Younger). 

Italian:  bom  Verona,  1490;  died  Venice,  1553.  He  was  a 
near  relation,  possibly  a  brother,  of  Bonifacio  Veronese,  the 
elder,  the  most  important  member  of  the  Veronese  family  and 
whose  art  he  closely  imitated.  Bonifacio,  the  younger,  was 
a  pupil  of  Palma  Vecchio,  as  was  the  elder.  Three  artists  from 
Verona  bore  the  name  of  Bonifacio,  and  their  work  is  much 
confused,  as  they  worked  together  and  developed  a  similar 
style  of  painting.  Among  the  important  works  of  Bonifacio, 
the  younger,  are:  "Supper  at  Emmanus,  Brera,"  Milan  Gal- 
lery; ** Christ  and  the  Apostles,"  Venice  Academy;  "Christ  in 
the  Temple, ' '  Palazzo  Pitti ;  * '  Prodigal  Son, ' '  Borghese  Gallery ; 
Rome,  and  "Virgin  and  Child  with  Saints,"  Dresden  Gallery. 

38.  "Sacra  Conversazione."  Upon  the  authority  of  Dr. 
Frimmel,  art  critic  and  director  of  the  Gallery  in  Vienna,  there 
is  but  little  doubt  that  this  picture  was  done  by  Veronese,  the 
younger.  If  not  painted  entirely  by  the  master,  it  was  the 
work  of  Antonio  Palma,  a  relative  of  the  old  Palma  Vecchio, 
and  a  co-worker  and  pupil  of  Veronese.  The  painting  is  on 
wood ;  is  rich  and  fine  in  color,  and  is  a  good  example  of  the 
school  of  Veronese. 


81 


WALDEN,  LIONEL. 

American :  born  Norwich,  Connecticut ;  left  America  in  1885 
and  went  to  Paris;  pupil  of  Carolus  Durand;  especially  well 
known  as  a  marine  painter.  One  of  his  works,  "Les  Docks 
de  Cardiff,"  was  purchased  by  the  French  government  for 
the  Luxembourg  Museum. 

Awards:  honorable  mention  Versailles,  1888;  second  class 
medal  Crystal  Palace,  London,  1894;  honorable  mention  Paris 
Salon,  1899;  gold  medal  of  the  third  class  Paris  Salon,  1903; 
silver  medal  St.  Louis  Exposition,  1904 ;  commemorative  medal 
St.  Louis,  1904 ;  Knight  of  the  Legion  of  Honor  of  France,  1910 ; 
silver  medal  San  Francisco,  Panama-Pacific  International  Ex- 
position, 1915. 

Represented  in :  The  Musee  de  Luxembourg,  Paris ;  Cardiff 
Museum,  Wales;  Memorial  Museum,  Philadelphia. 

Member  of:  The  Paris  Society  of  American  Painters; 
National  Institute  of  Arts  and  Letters;  Societe  International 
de  Peinture  et  Sculpture;  Society  de  Peinture  de  Marine,  Paris 

39.  *  *  Mediterranean  Fishermen. ' '  A  splendid  and  spirited 
example  of  this  artist 's  work,  always  remarkable  for  life  and 
movement,  rich  color  and  fine  composition ;  all  these  qualities 
are  found  in  this  painting  of  the  fishermen  at  Capri,  It  is 
executed  with  a  full  flowing  brush  and  much  luminosity. 

40.  "The  Beach,"  Koolaupoko,  Oahu,  Hawaiian  Islands. 

41.  "The  Volcano,  Kilauea,"  May,  1916. 


83 


WHISTLER,  JAMES  ABOTT  McNEILL. 

American :  born  Lowell,  Massachusetts,  1834 ;  died  London, 
1903 ;  son  of  Major  George  Whistler,  who  came  from  the  Irish 
branch  of  an  old  English  family,  and  of  Anne  Matilda  McNeill, 
of  Wilmington,  North  Carolina.  Much  of  Whistler's  youth  was 
spent  in  St.  Petersburg,  as  his  father  was  appointed  consulting 
engineer  of  the  Moscow  and  St.  Petersburg  railroad.  After 
the  death  of  his  father,  in  1849,  Whistler  returned  with  his 
mother  to  America,  and  two  years  later  entered  the  West  Point 
Academy.  But  he  was  unfitted  to  undergo  the  study  and 
discipline  necessary  for  a  military  career,  and  in  1854  was 
discharged  for  failure  in  chemistry.  He  had,  however,  already 
distinguished  himself  in  drawing  and  easily  obtained  the  ap- 
pointment of  draughtsman  in  the  Coast  Survey  Department 
at  Washington.  It  was  here  that  he  made  his  first  etching, 
a  view  of  the  contour  of  a  coast,  taken  from  the  sea.  But 
finding  routine  work  unbearable,  in  1855  he  gave  himself  up 
definitely  to  art  and  proceeded  to  England  and  then  to  Paris. 
He  studied  first  in  the  school  of  Gleyre,  but  was  considerably 
influenced  by  such  men  as  Degas,  Legros,  Bracquemond,  and 
especially  Fantin-Latour.  His  first  published  work  was  the 
French  set  of  etchings.  In  1859  his  first  painting,  "At  the 
Piano, ' '  was  sent  to  the  Salon ;  it  was  refused  but  the  following 
year  was  hung  in  the  Royal  Academy.  "The  White  Girl,'" 
sent  to  the  Salon  in  1863.  was  also  refused,  and  in  that  year 
Whistler  left  Paris  and  took  up  his  residence  definitely  in 
Chelsea.  "The  Thames  in  Ice"  was  exhibited  at  the  Academy 
in  1862,  and  "Old  Battersea  Bridge,"  in  1865.  About  this  time 
he  had  begun  to  collect  oriental  porcelain  and  the  influence  of 
Japanese  art  is  to  be  seen  in  his  pictures  between  1864 
and  1870. 

The  portrait  of  his  mother  (afterwards  bought  by  the 
French  government  for  the  Luxembourg  Museum),  the  por 
trait  of  Thomas  Carlyle  and  "Miss  Alexander"  constitute,  per 
haps,  his  greatest  achievements  in  painting.    Both  in  aim  and 


85 


execution  they  are  unlike  any  contemporary  work.  In  1877, 
when  Grosvenor  Gallery  was  started,  Whistler  sent  to  the  first 
exhibition  seven  pictures — ^the  Carlyle  portrait,  that  of  Irving 
and  a  group  of  nocturnes;  and  further  "shocked  and  irritated 
his  critics  by  the  names  he  gave  them,  such  as:  "Notes," 
"Harmonies,"  "Arrangements"  and  "Symphonies,"  in  this  or 
that  color,  as  a  protest  against  the  literal  painting  of  the  day, 
insisting  that  art  alone  should  appeal  to  the  artistic  senses  and 
the  subject-matter  be  ignored. 

In  1871  he  published  the  Thames  series  of  etchings,  and 
from  1879-80  made  the  famous  Venetian  set,  and  also  a  few 
pastel  sketches,  as  preparatory  studies  for  his  oil  paintings. 
In  1881  fifty-three  pastel  sketches  were  shown  at  the  Fine  Arts 
Society  Gallery,  showing  a  use  of  the  material,  as  beautiful 
as  it  was  new  and  original.  "Whistler  also  made  many  litho- 
graphs, raising  the  art  of  lithography  from  a  commercial  basis 
to  a  fine  art  by  his  exquisite  handling.  In  1884  he  became  a 
member  of  the  Royal  Society  British  Artists,  and  President 
in  1886;  but  was  compelled  to  resign  in  1888,  his  methods 
being  too  radical  and  independent.  His  work  was  signed 
sometimes  with  his  name  and  sometimes  with  the  butterfly 
signature  evolved  from  his  monogram,  and  which  he  adopted 
in  the  sixties.  His  last  years  were  spent  at  Chelsea,  and  he 
lived  to  see  the  recognition  of  his  genius. 

42.  "Lady  Archibald  Campbell."  This  unique  little  pic- 
ture came  from  the  collection  of  Mrs.  Rose  Caldwell  Hughes, 
New  York. 


87 


NOTES 


89 


NOTES 


91 


NOTES 


93 


NOTES 


95 


#v^S 


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